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A picture book in honor of Cahin S. Hathaway 


A picture book in iwnor of Calvin S. Hathaway 

New York, 1964 

Museum and Library Staff 


H. Christian Rohlfing, Adnnnistrator, Curator of 

Mary Borden Hall, Secretary 
Mary A. Noon, Recorder 

Mrs. John J. Blackwelder, Catalogue Supervisor 
Mrs. C. John Mitchell, Receptionist 


Hedy Backlin, Curator of Decorative Arts 

Richard P. Wunder, Curator of Drawings and 

Alice Baldwin Beer, Curator of Textiles 
Christa C. Mayer, Assistant Curator of Textiles 
Edward L. Kallop, Associate Curator of 





Gerd Mnehsani, Librarian 

Edith Adams, Librarian 


Carl Worth, Assistant, Department of Decorative 

Anne Oehlschlager, Assistant, Department of 

Drawings and Prints 
Andrew Gross, Artist and Mounter, Department 

of Drawings and Prints 
Jane Stuart, Artist and Mounter, Department 

of Textiles 


Adam Bonczkowski, Guard 
Adolph Humiecki, Guard 
Walter Kilar, Guar-d 
Elizabeth Roberts, Housekeeper 

Published by former members of the Advisory 
Council and by the staff of The Cooper Union 

Photography by George Cowdery, Ferdinand 
Boesch, Helga Photo Studio, Inc. 

Copyright © 1964 by The Cooper Union Museum 
Library of Congress Catalogue Card No. 64-25655 
Printed in the United States of America 

from Princeton University in 1950, and did gradu- 
ate work at Harvard University and New York 
University. Sliortly thereafter he was taken on the 
staff of the Pennsylvania Museum of Art (changed 
to the Philadelphia Museum of Art) as Secretary 
to the Director and Editor of the Museum's pub- 
lications. Later, he was given charge of the Depart- 
ment of Decorative Arts and the "Colonial Chain" 
of historic houses in Fairmount Park. 

In 1935 he came to the Museum for the Arts of 
Decoration of The Cooper Union for the Advance- 
ment of Science and Art, first as Assistant, then as 
Associate Curator, and finally, in 1946, as Curator, 
a title changed in 1951 to that of Director. In 1 947 
he was appointed Professor of Decorative Arts. On 
the last day of December, 1965, he resigned, just 
two months short of thirty-one years of service 
with the Cooper Union Museum. He now occupies 
the post of R. Wistar Harvey Curator of Decorative 
Arts of the Philadelphia Museum of Art. 

With the advent of war, he enlisted as a Private 
in 1942, and terminated his military service four 
years later with the rank of Captain. His com- 
missioned service was spent largely in Military 
Government Service for the Division of Monu- 
ments, Fine Arts and Archives, in Bavaria and 

Austria, and later, in the Office of Military Govern- 
ment for Germany, in Berlin. His decorations in- 
clude the Military Order of the Loyal Legion and 
the Delaware Medal (Sweden). 

In 1935 he was awarded a travelling fellowship 
by The American-Scandinavian Foundation. Pro- 
fessional affiliations held bjf him include member- 
ship in the American Association of Museums, 
Association of American Museum Directors (one 
term as Vice-President) , the International Institute 
for the Conservation of Museum Objects, the 
Artist-Craftsmen of New York (Board of Governors 

and Second Vice-President), Inter-Society Color 
Council, American Institute of Interior Designers, 
Residence Lighting Forum, New York Section 
(Executive Board), Centre International d'Etudes 
des Textiles Anciens (American Correspondent 
and Vice-President), and the Fine Arts Committee 
of the White House. He was also a member of the 
Museums Covmcil of New York, and upon leaving 
New York was elected to honorary membership. 

Mr. Hathaway's contributions to the develop- 
ment of the Cooper Union Museum are numerous 
and varied. Among his initial undertakings was 
the organizing of a catalogue system for all objects 
received by the Museum from its beginning in 
1897. This included the establishing of accession 
numbers, the outline of classiiication of the objects, 
the designing of the various forms needed for 
daily operation, and the card catalogue which to 
this day offers the unique service of a comprehen- 
sive file available for public consultation. During 
World War II the Office of Military Government 
in Germany used this outline of classification as 
the basis for indexing looted works of art recovered 
by the United States military authorities in Ger- 
many. A number of museums and libraries in 
America have since studied and adopted this 

In order to stimulate, a broader interest in the 
Museum, Mr. Hathaway organized the Friends of 
the Museum program through which contribu- 
tions were received for the purchase and repair of 
works of art, for publications, receptions and gen- 
eral physical improvement of the Museum. For the 

Aitnual Spring Gathermg of the Friends of the 
Museum, well-lvilo^VIl speakers were engaged and 
exhibitions organized, factors which did much 
toward increasing the membership of the Friends 
and extending an interest in the Musemn beyond 
the neighborhood of Cooper Scjuare. 

In 1955 he initiated the Chronicle, an annual 
scholarly publication devoted to objects or various 
units of the collections, which soon gained an 
international reputation in the field of the decora- 
tive arts. Articles which he personally contributed 
to the Chronicle include one devoted to French 
silversmithing of the 1 8th century, others to the 
collection of drawings and watercolors by Winslow 
Hoiner (the first article ever to be devoted to 
Homer's graphic art and a milestone in the study 
of this artist), the wallpaper collection, the draw- 
ings collection, a study of the Museum's develop- 
ment from 1897 to 1957, and, in collaboration 
with Miss Jean E. Mailey, a detailed analysis of 
a group of rare early Chinese textiles, attributed 
to the third century B.C., the late Eastern Chou 
period. In order to present more fully certain col- 
lections, he instituted picture books devoted to the 
wallpaper collection and to that of printed textiles. 
As a part of the Museum's SLxtieth Anniversary 
celebration, an Illustrated Survey of the Collections 
was published, the design of which was the model 
for this present publication. 

Seeing the need for a program of chaiiging 
exhibitions, in 1938 he arrsuiged that gallery space 
be made available for such purposes. Under Mr. 
Hathaway's imaginative direction, such varied ex- 

hibitions have taken place as French Silver from 
the Reign of Louis XI J to the Empire, Baked Clay- 
in the Service of Man, Four Thousand and One 
Buttons, JVith Hamnier and Tongs, 2)00° F., 
Nine Lives: The Cat in Art, All That Glisters, 
Leather in the Decorative Arts, Alter Ego (Masks), 
Lacquer, Conspicuous TFaist: TFaistcoats and 
Their Design, The Prince Regent's Style, Enaniel, 
Nineteenth Century Jewelry, Design by the Yard 
(Printed textiles), Ceramics by Picasso, Plane 
Geometry and Fancy Figures: The Art of Paper 
Folding, The Logic and Alagic of Color, to msne 
but some of these exhibitions, all of which were 
accompanied by printed and ilhistrated catalogues. 
Concerned with the necessity for a program of 
changing exhibitions, Mr. Hathaway stated: 
"While the collections form the cornerstone of 
every museum, it is only by the use made of the 
collections that the success of a museum may be 
gauged . . . The most conspicvious development 
has taken place in the program of tentporary ex- 
hibitions . . . based in large part on material in the 
Museum's possession, reenforced with loans from 
generous collectors, mtiseums, aiid the designers 
and producers of our own day." Under his guid- 
ance participation by the Museum in trade and 
craft sho'ws, home-furnishing and flower shows, 
as well as in loans to other museums and travelling 
exhibitions has resulted in an increased public 
awareness of the Museum's collections and services. 
Until 1940, when the administration of the 
Museum library was transferred to that of the 
Cooper Union's Main Library, Mr. Hathaway 

daily scrutinized European and American dealers' 
catalogues for books needed for research in the 
decorative arts. Today, this library is outstanding 
of its kind on this side of the Atlantic. 

Mr. Hathaway's most recent contribution to the 
betterment of the Museum's physical arrangement 
and interpretation of its collections was the re- 
installation of two suites of galleries, one devoted 
to The Eleinents of Design, the other to The 
Sources of Design, the latter completed in the 
Spring of 1963. The raison cFetre of these particu- 
lar displays is that "besides maintaining collections 
representative of the good designs of today, yester- 
day, and the da)^ before . . . a teaching and working 
organism such as the Cooper Union Museum 
should develop displays illustrative of the elements 
of design — form, color, texture, spatial relation- 
ships, illumination. The concepts, sometimes dif- 
ficult to convey even experimentally in classroom 
and laboratory, still seem imperfectl}^ understood 
by designers and producers of much that is offered 
in today's market. They are all aspects of that 
elusive ideal, quality, recognition of which is often 
described under the indefinable term, taste." 

His loyalty and deep sense of his responsibilities, 
and his patience in bringing to completion any 
task before him were the qualities which Calvin 
Hathaway imparted as example to his professional 
staff. To him the staff, individually and col- 
lectively, owes gratitude for the knowledge he 
shared and the guidance he provided in the con- 
duct of the Museum dtiring the nearly thirty-one 
3rears of his leadershii?. Mary A. Noon 

The most ancient silks in the Museum's collection, 
and the rarest, are a bonnet, a pair of mitts and 
fragments of a kerchief, discovered in a lacquer 
box excavated at Ch'ang-sha, in the Chinese 
province of Hunan, and tentativel)' attributed to 
the third century, B.C., late Eastern Chou pe- 
riod. Though stained and dimmed after some two 
thousand years, they remain important examples 
of the extraordinary skill of Chinese silk wreaving 
and mastery of design. The kerchief fragments are 
in a plain, or tabby weave, unpatterned, and now 
a deep cream color. The boirnet and mitts are in 
very fine warp-face weave in brown, vermilion, 
honey color and yellow. In three patterns (two in 
the bonnet and mitt finger ends are very similar) 
the}' present arrangements of subtle, geometric 
designs, probably symbolic and certainly evidence 
of ancient culture. In Volume 2, number 10 
of the Museum's Chronicle a study of these 
textiles was published by Jean E. Mailey and 
Calvin S. Hathaway, a collaboration resulting in 
a valuable scholarly contribution to our knowledge 
of early Chinese textiles, a.b.b. 

Mitt: Si/^x 51,, m. [1951-45-4] 







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Diagram of pattern (detail) for bonnet 

Diameter, ^^/s in. [1961-88-9] 

One of the earliest results of Man's attempts to 
create materials with properties different from 
those inherent in nature was the invention of glass. 
With its many possibilities of color, technique and 
use glassmaking never ceased to intrigue craftsmen 
and artists as its technology spread from Mesopo- 
tamia toward Egypt and the West. The Middle 
East remained for a long time the centre of the art, 

and it is from that area, probabW from Sidon, that 
this little bowl originates. It is a variation on a 
\vell-kno^vn family of lotus-shaped bowls, some of 
which have rounded relief petals, others only 
their indication in raised flanges. Pale green in 
color, it is but one of many fine examples of ancient 
glass given the Museum by Mrs. Leo Wallerstein. 


The art of the Chinese potter reached a remarkable 
peak during the T'ang Dynast)^, that highly 
artistic and refined period corresponding approxi- 
matel}' to the 7th tlirougli the gth centuries of the 
Christian era. Native experience in the craft was 
stimulated to new efforts by external cultural in- 
fluences, mainly from Persia, with remote echoes 
from the earlier Hellenistic kingdoms. In this 
stoneware amphora with a iineh'-crackled glaze, 
the decorative dragon handles of Middle-Eastern 
origin enhance a classically crisp outline, h.b. 

Height, 1-:,% in. [1958-94- 

In the construction of a portion of a shirt from the 
pre-Columbian Tiahuanaco Cuhure of about 800— 
1000 A.D. is fovuid a combination of eilpaca wool 
wefts and cotton warps. The pattern is contained 
within wide, vertically-running bands, separated 
one from the other by a narrow stripe of brilliant 
red. The individual design unit shows a luteeling 
winged figitre carrying a staff. In each instance it 
is introduced into the vertical bands in a fascinating 
juxtaposition ^vith repeating design elements. 
Sometimes the motifs are reversed, sometimes 
color is reversed, at other times both alternations 
occvir. The result is a design of extreme sophisti- 
cation and refinement. c.C.M. 

54'/i > 


Two strands of delicate cast gold l^eads, from the 
province of Code, Panama, the gift of Mrs. John 
Winslow, are examples of a pre-Colnmbian culture 
which existed from 500 to 1 540 A.D., and produced 
not only a wide range of brilliant polychrome 
pottery but also a variety of ornaments in which 
hammered or cast gold was an important element. 
The necklaces were probably made about 800 a.d. 
by a skillful process of casting, now lost. The little 
gold pendant, in the form of an eagle, combines 
the two technic[ues of casting and hammering; it 
is from Costa Piica and dates from the 12th centur)'. 
These ancient ornaments are proof of crafts far 
from primitive, and suggest, as well, that instinc- 
tive appeal to the sense of touch, the enjoyment 
of which is satisfied only by running through one's 
fingers such fine works of gold. a.b.B. 

Upper ( — 1): 21 in. (length) [1960—120-1,-2] 

Lower ( — 2): 22^ in. (length) 

Pendnnt: '/s in. (length) [1960-28-1] 


^. {detail shown) [1961-96—1] 

The acquisition, through the Friends of the Mu- 
seum Fund, of this silk adds to the Museum's 
collection of early textiles an example from that 
rare 11th-century group of Persian silks of the 
Buyid Dynasty. To a muted color scheme of brown 
and cream aliveliness is added by the clever stippling 
effect produced by the warp twill weave. The vigor 
of pattern, complex but controlled, beguiles the 
eye. Though many of the design elements are 
familiar in Near-Eastern art, comparison with 
other known Buyid silks sets off this fragment as 

something of a departure in style. Less hieratic, 
less heraldic, the whole pattern is arranged against 
a background of agile floral ornament which 
presages the later, fuller development of Mo- 
hammedan design. Within the double frame of 
the ogival net move rinceaux against which runs 
a Kufic inscription: "Every son of woman, no 
matter how long he lives in security, is one da}^ 
borne away on a stretcher," gloomy testimony 
that this lovely textile was designed for use in 
burial, a.b.b. 

As Chinese porcelains spread through Asia toward 
the West, their fame ehcited admiration and envy 
in collectors and spurred potters to attempt to 
capture their desirable qualities. One of the most 
successful imitations which resulted in a whole 
new family of ceramic products, eventually known 
as niajoUca and faience, was created in the Middle 
East and carried from there to Moorish Spain, to 
Italy, and eventually across the Alps to Northern 
Europe. This ceramic type is distinguished by an 
opaque white glaze, a light clay body, and by high- 
fire colors of iron red, cobalt blue, copper green 
and black. These brilliant colors enhance the force- 
ful design of this handsome flagon from Turkish 
Iznik, of about 1550. Given to the Museum by 
R. Thornton Wilson, it was formerly in the 
collection of Enrico Caruso and William Randolph 
flearst. h.b. 

Height, 8 in. [1962-183-1] 

Late Gothic architectural drawings are so rare 
that this one is the sole example known in an 
American museum. The essential conditions of 
such drawings were that they should be perfectly 
accurate and clear, and those for actual under- 
takings were usually executed on vellum and of 
a size larger than this example, carried out with 
pen and ink with ink wash on paper. Dating 
probably in the last decade of the 15th century, 
and of German origin, it is inscribed with the 
monograjn of the workshop, which has not yet 
been identified, and its suggested size is "200 
shoes high." Its shape and proportions seem to 
indicate the tower to have been for a Ratliaus, 
(town hall), rather than for a church. The drawing 
may not have been for a specific project, but in- 
tended, rather, to illustrate the abilities of the 
•workshop. Of particular interest is the device in- 
dicating a quarter-turn by repeating only half a 
motif, best seen in the quatrefoil tracery of the 
upper gallery. The e.xecution of the drawing was 
problably left to a shop assistant, the details of 
the ornamentation and sculpture being added 
afterwards by the master, a practice common at 
that time. This drawing was acquired through 
contributions by the Friends of the Museum. 


- « SS'/i" 10% in. [1960-77-1] 


Diameter, Qy^ in. [1962-8—18] 

From the gift by Irwin Untermyer of five small 
embroidered roundels, probably Flemish, 15th 
cemury, three have been identified by Miss Mar- 
garet Freeman as part of a series illustrating the 
legend of the martyred Saint Catherine of Alex- 
andria. In the example shown, Catherine has been 
brought by her jailers to the Emperor Maxentius, 
who stands before the idol he worships. A simi- 
larity to 15th century Flemish painting suggests 
a design source. Such embroideries worked in 
colored silks and gold are well named needle- 
painting for they convey the drama of a moment, 
the color and flow of rich materials, the grace of 
gesture. Worn though these delicate embroideries 
are after almost five hundred years, the felicity 
of touch of the nameless embroiderer is still 
apparent, a.b.b. 


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ii'/ji"- [1959-144-1] 

A pictorial embroidery, possibly French, late 16th 
century, formerly in the Spitzer and Seligman 
collections, was given to the Museum by Miss 
Marian Hague. Worked in high relief on silk in 
silk and gold threads and coral beads, it presents 
a curious design, sombre bvit compelling. The 
crutches and ex voto objects depending from the 
limbs of the oak indicate a representation of a 
votive tree. In the strange elements of the design 
appear symbols e.xpressive of mj^ths inillenial in 
origin, transplanted by time into Christian myth- 
ology: the tree, symbol of life, of knowledge; 
at its roots a salamander, believed to withstand 
fire, expressive of survival; the coral, protection 
against evil; finally the serpent, in ancient mythol- 
ogies a symbol of immortality, and as attribute of 
Asclepius, God of Medicine, the Life-giver, the 
Restorer, here possibly guardian of the sacred tree. 



While certain craft techniques spread rapidly from 
area to area and from country to countr}-, others 
remain fairly localized in their place of origin. In 
Kreussen, on the German-Bohemian border, and 
in a few places in Southern Saxony, a rich brown 
clay was found suitable for the manufacture of 
jars and tankards. Decorated with lively enamel 
colors, these remain without parellel in the history 
of German ceramics. Favorite decorative subjects 
included the allegories of the Seasons and the 
Seven Planets, derived from popular engravings 
b}^ the German Kleinineister, or from portraits of 
sovereigns and princes of the Church. Such a pair 
of portraits adorns two of six panels of this Saxon 
jar of about 1675, formerly in the collection of 
Count Wilczek, of Kreuzenstein, Austria, and 
given to the Museum by Milton J. Blume. The 
fine repousse silver-gilt mounts by the Munich 
silversmith, Franz Oxner (died 1688), testify to 
the esteem this object enjoyed by its former own- 
ers. H.B. 

Height, jy^in. [1957-174-1] 



The increasing wealth of European cities during 
the late Renaissance resulted in a prodigious pro- 
duction of expensive showpieces. The German 
cities of Avigsburg and Nuremberg were particu- 
larly active in the field of silversmithing, and 
developed a number of characteristic designs, 
among them the Buckelpokal, a standing cup with 
cover, worked in a high bulbous relief EUid adorned 
with engraving or other fine details. As further 
enhancement, gilding was applied to the silver. 
From its late 15th-century beginnings, the Buckel- 
pokal enjoyed great popularity, perhaps owing to 
the brilliance of light reflections on the raised 
forms. In this rather small but exquisitely pro- 
portioned cup, mid- 17th century in date and of 
Nuremberg workmanship, the characteristic shape 
is used to exceptional advantage, h.b. 

Height, (^%iYi. [1959-15-1] 



21/2x23/8 in. (encft) [1961-18-1, -2, -5] 

\n addition to being a painter and draftsman of 
first rank, Hans Holbein, the Younger (1497- 
1 543) was also an accomplished designer of orna- 
ment. These three roundels, here reproduced in 
actual size, are executed in pen and brown ink 
with ink wash, and with the addition of rich blue 
water-color in the backgrounds of the centre and 
right-hand drawings. It is possible that the finished 
objects were intended to be carried out in cliam- 
pleve enamel on silver, perhaps as pommels for 
ceremonial batons. The designs could have been 

intended also as ornamental adjuncts to the dress 
of Henry VIII, though they would appear to have 
been unsuitable for buttons. In character, they 
relate to the motif of a grotesque head on the hilt 
of the dagger carried by King Henry seen in the 
cartoon for the lost Whitehall Palace mural of 
1537, thereby dating the drawings during the last 
decade of Holbeins's life. These precious drawings 
entered the Museum's collection through the gen- 
erosity of Benjamin Sonnenberg. r.p.w. 





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Strongly influenced by classical antiquity during 

' if his sojourn in Rome in the early 1550's, Girolamo 

'v * ,, [ da Carpi (1501-1556) filled a number of sketch- 

^ books with drawings of sculpture and grotteschi. 

,''■ This sheet, drawn on both sides in pen and ink 

with details of classical sculpture, probably comes 
from one of these books, some of which were dis- 
membered in the 18th century. The subjects here 
shown include a herm, a statue of Minerva and 
one of a Meleager, and on the verso is the inscrip- 
tion, "delle Valle," a probable indication of the 
famous Roman collection to which these pieces 
once belonged. The drawing comes from the 
collection of Philippe Huart, and was given to the 
Museum by Hugh Cassel. R.p.^v. 

10% X 7^4 in- [1958-145-4] 

A cap of linen, embroidered in silk, sequins and 
touches of gold thread, is a rare example of the 
headgear the Elizabethan gentleman donned in 
the privacy of his own house. The curious pattern 
of rainbows and clouds is an illustration of that 
language of emblems to which designers of em- 
broidery often turned in the i6th and i7tli 
centuries. The rainbow, appearing to Noah as the 
Flood ceased, became a sign of God's forgiveness — 
hence of peace, of tranquillity. Indeed, it might 
have formed part of the heraldic device of the 
original owner. In the bow we find red, yellow, 
and darker red and blue. The very curly clouds 
between the rainbow are in blue outlined with 
couched gold. The cap, formerly in the collection 
of George Saville Seligman, is part of the Richard 
Cranch Greenleaf bequest and is thought to date 
between 1590 and 1610. a.b.b. 

Height, 614 in. [1962-55-1 1] 

i5%xi5in. [1962-50-28] 

A man's collar of needle lace dating about 1670 
from the bequest of Richard Cranch Greenleaf is 
of a type kno'wn as gros point de venise. It is 
characterized by its high relief achieved by out- 
lining the pattern with the cordonnet, a cord or 
thick thread. The design composed of large, free- 
flowing scrolls, is connected by brides picotees, or 

tie-bars, decorated with loops simulating pearls in 
the center of each. Gros point de venise originated 
in Italy and was introduced into France during 
the late 17th century by Colbert, chief minister 
of Louis XIV, froin whence it becaine known as 
point Colbert. C.C.M. 


The most famous of Rembrandt's etchings, Christ 
WITH THE Sick Around Him, Receiving Little 
Children, dating about 1649, shows more splen- 
didly than any of his other graphic works a single- 
ness of artistic aim fused with tremendous technical 
virtuosity. Known as the 'Hundred Guilder Print' 
since the early 18th century because of a price 
it once fetched at auction, the work combines 
drypoint with etching, and is known in two states; 
this example is the second, more finished state. 
Good impressions of this print are of the utmost 

rarity, fewer than thirty having been recorded. 
This impression has a most distinguished history. 
In 1682 it was in the collection of French publisher 
and art dealer. P.- J. Mariette, and in the igtli 
century passed into the hands of Rudolf Busch, 
the German industrialist. This famous print joins 
a group of over a hundred Rembrandt etchings 
already in the Museum's collection, gifts gener- 
ously made over a period of years by the late Leo 
Wallerstein and continued by Mrs. Wallerstein. 



6%x5Vsi"- [1960-1-27] 

Strange materials have always fascinated Man, 
and often he endowed them with miraculous 
properties such as the poison-detecting power of 
the unicorn's horn. Just as often, Man applied his 
own skills to improve upon natural materials by 
painting or carving them. And what would be a 
more appropriate motif for such an exotic object 
as an ostrich egg than the allegorical representa- 
tion of the Four Continents? An engraved New 
Year's greeting of 1706 from a library in Zurich 
found its way, as did many other engravings, into 
a Franconian workshop, where it served as a 
prototype for the design carved into the fragile 
shell of this ostrich egg. One of a group of about 
one hundred and twenty objects with allegories 
of the Four Continents given b}' the Trustees of 
the Estate of James Hazen Hyde, the exotic 
character of this piece is surpassed perhaps only by 
another in the same collection, a standing cup 
carved from the amber-like horn of a rhinoceros. 



An object with a closely defined pnrj)ose can be as 
specific in design as its function demands, em- 
phasizing the particular with disregard for general 
solutions of design problems. In devising this 
reading chair, all the needs of the literate gentle- 
man have been considered: a comfortably up- 
holstered and shaped seat, intended to be straddled, 
generous arms on which to rest the elbows, 
drawers for papers and pens, a retractable candle 
holder and an adjustable book rest. In a peculiar 
and functionally sound construction, the back legs 
are slanted in such a way as to support the weight 
of the sitter, which is thrown toward the back of 
the chair. A gift of Mrs. Paul Moore, this reading 
chair is a fine example of functional design in 
early 18th-century England, h.b. 

Height, 56 ',4 in. [1960-164-16] 


\^ illiaui Delacour, possibly of French origin as his 
name would suggest, was active in London from 
1741 to 1767. He is known only as a designer of 
eight books of ornament, of which the etched title 
page of the first book, dedicated to Lord Middlesex, 
is shown here. Others of the "books" (actually 
suites) are dedicated to the Earl of Holderness and 
the Duke of Rutland. The Museum is most fortu- 
nate in possessing the only known copy of all eight 
books, bound together, acquired through pur- 
chase. Perhaps Delacour was employed by the 
gentry to whom he dedicated these suites, which 
include designs for furniture, frames, jewelry, 
cartouches and other forms of ornamentation. 
Above all, his designs reflect the then-fashionable 
French rococo style of decoration, r.p.w. 

1 1'/,'' 314 in. {plate line) [1962-126-1] 


Soon after the discovery of America, the new 
continent gained entrance into the arts through 
allegorical representations of the Fonr Continents. 
In tapestries and paintings, in silver and porcelain, 
personifications of the fonr parts of the world 
retained popularity with artists for almost tln-ee 
centuries. Giambattista Tiepolo succumbed to 
tlieir charm, as did the master-modellers of Meis- 
sen. By the mid- 1 8th century at least six different 
versions were produced at the Meissen factory 
alone, the most impressive perhaps the one in- 
cluding this figure of America. The alligator 
and the parrot were accepted attributes of the 
New World, as was the colorful raiment of 
feathers. The cornucopia was introduced as an 
appropriate symbol of the continent from which 
flowed Mexican silver and Peruvian gold. The set 
to wliich this figure belongs was part of the .Tames 
Hazen Hyde Collection, h.b. 

Height, 10% in. [1960-1-28,0] 


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814x10% in. [1960-102-19] 

During his student days in Rome in tlie iCigo's, 
the eager 3'oung French architect, Gilles-Marie 
Oppenord (1672-1742) fiUed a number of sketch- 
books with drawings of Roman architecture, 
sculpture and painting, interspersed with his own 
designs for arcliitecture and ornament. The lessons 
which he thus learned were later incorporated into 
his own work in Paris which became the basis for 
the Regence style. The Museum was most fortu- 

nate to be able to acquire through purchase an 
album of Oppenord's Roman sketches, in which 
are included all phases of his varied work. This 
sheet, executed in pen and ink with delicate water- 
colors, is a view from the artist's own window look- 
ing toward the Palazzo Lante, with a glimpse of 
the curved roof of the Sapienza chapel at the left. 
Due to modern building activitv, this view no 
longer exists. R.P.W. 


The graphics collection of the Museum, excep- 
tionately rich in the decorative arts, possesses a 
few rare watercolor drawings from the porcelain 
factory of Sevres. For some years, a saladiere of 
generous proportions, corresponding exactly to one 
of these drawings, was in the collection of the late 
Captain John Jay Ide. Recently it has been re- 
united with the original design through the gen- 
erosity of Mrs. Ide, as a gift in memory of her late 
husband. The soft paste of the decagonal bowl, of 
a pleasing warm white color, is decorated with 
multi-colored flowers by Jacques Micaud, whose 
mark and the date letter for the year 1 763 are to 
be found on the bowl. h.b. 

Bowl: 111/2111. {diameter) [1963—75—1] 
Drawing: i6%xi2%in. [1938-88-851 


(%'y./j4^^i yg-:AK^ _yi>^ 

*: nizsarx" 33d^- 

Height, 47y8 in. [1960-103-1] 

The American production of wallpaper was her- 
alded bjr an advertisement of Plunkett Fleeson in 
the Pennsylvia Gazette as early as 1 756, but few 
papers of early domestic manufacture can be 
identified as being by know^n paper stainers. 
In the case of this wallpaper, commemorating 
the death of George Washington, the author- 
ship seems to be undisputed. Ebenezer Clough, 
paper stainer of Boston, produced it in 1800, in- 
corporating in it architectural elements popvdar 
in the late 18th centttry, and mourning figures 
symbolizing Freedom and Justice. Undoubtedly 
the timeliness of the design appealed to the patri- 
otic feelings of the young Republic, grieving for 
its Revolutionary hero and first President. A gift 
of the children of the late Mrs. Edith Parsons 
Morgan, this wallpaper is a rare and interesting 
example from the Museum's extensive collection 
of historic wallpapers, h.b. 


To the touch and to the eye, a raw plank or niasonr}^ 
wall suggests little of the "warmth and comfort 
which make a house a home. At an early stage, 
Man began to improve on basic building materials 
by coating or covering the interior walls with more 
refined surfaces, providing not only tactile but 
also visual pleasure. The figured tapestries of the 
rich had their counterparts in painted hangings, 
like this bonad froin a Swedish farmhouse. Such 
peasant paintings ustially showed biblical scenes, 
mirroring in dress and details the familiar world 
of the village. Bright colors and an unmitigated 
horror vacui add considerably to the effect of 
appealing naivete. This early 19th century wall 
hanging, one of a group of twenty given the 
Museum by the late Richard Cranch Greenleaf, 
represents three independent scenes: The Mar- 
riage AT Cana with the Miracle of the 
Wine, Hagar in the Desert, and David and 
Goliath, h.b. 

Height, 461/2 in. [1959-140-6] 



2g X 6 in. {detail shown) [1961-7-1] 

Crewel embroidery in 18th-century America, off- 
shoot of similar English embroidery of the 1 7th 
century, attained a character of design and tech- 
nique all its own. This embroidered border of a 
woman's linen petticoat, acquired through the 
generous assistance of Mrs. Alastair B. Martin and 
the late Mrs. Montgomery Hare, is a delightful 
example of the originality and curious unreality 
of such designs. Although the foreground is more 
or less typical of both English and American pat- 

tern, the forms of the dwarf trees with vigorously 
curving branches, the oversize fruits and blossoms, 
the fresh, strong colors, often in sharp contrast, 
the very economy of wools, and the open back- 
ground, mark the dissimilaritj^ to the heavier 
English work. The lemon tree, vfith its balloon-like 
flower, has a red trunk, parti-colored leaves, sharp 
yellow fruit, while in the neighboring tree a 
deliciously eccentric yellow starfish-shaped blos- 
som bends to the ground, a.b.b. 


i6x2iy2iri. [1957—46- 

With the increased demand for inexpensive roller- 
printed cottons toward the end of the 1 8th centnr\- 
came a fad for gaily colored kerchiefs. A well- 
knoAvn manufactory for cotton printing -vvas that 
of Fazjr at Corapagnie, located in Geneva. The 
Fazy works were served, for the most part, by a 
family of designers by the name of Dubois. This 
drawing, in brilliant watercolors, is by one of the 
younger members of the family, Louis-Albert 

Dubois (1752-1818). The drawing may be dated 
about 1801. The scene suggests the environment 
of Lake Geneva, dotted with small islands and 
bordered by low hills that rise in the neighborhood 
of Lausanne. The large group of textile designs 
by various members of the Dubois family, to which 
this example belongs, was accjuired through con- 
tributions by the Friends of the Museum. r.p.W. 


14% X 291/2 in- [1963-12-1] 

One of the most intimate and ready contacts with 
Japan may be acquired through the engaging 
study of the numberless colored woodblock prints 
of the so-called Ukiyo-e School that flourished 
from the early 1 7th century until the fall of the 
Tokuga\¥a Djmasty in the mid- 19th century. This 
triptych by Kininaga, w^ho died about 1820, repre- 
sents a composite scene from a Kabuki drama 
concerning the Eight Sennin (Immortals). The 
characters include Kinto on a carp-steed, Oshikyo 
riding a white crane, Chokiwaro holding a gourd 
from which she conjures a small horse, and Chinnan 
holding a bowl from which issues a column of 

smoke enveloping a dragon. At her right sits 
Tekkai breathing forth a diminutive reproduction 
of herself, and facing her stands Korejin writh her 
tiger companion, near which is seen Chokiuka 
cutting fragments of cloth from her garments and 
tossing them into the cdr where they instantly 
turn into butterflies. Finally, below. Gaga kneels 
and plays wdth her fabulous toad. Apart from the 
complicated composition, the patterned relation- 
ships of line and color reached a degree of refine- 
ment with the art of Ukiyo-e rarely surpassed in 
Oriental graphic art. R.P.w. 


11x12 1 m. 


From the late 18th century through the first half 
of the 1 gth a happy collaboration existed between 
artist and wallpaper manufacturer, resulting in 
significant innovations. Perhaps inspired by the 
panoramic paintings then in vogue on the amuse- 
ment strips of the Paris boulevards, artists worked 
ovit cartoons for wallpapers with non-repeating 
designs. A continuous scene, or a series of con- 
nected scenes, formed the complete decor of a 
room, providing illusionary vistas into distant, 

often exotic landscapes, or illustrating episodes 
from mythology or history. Thousands of wood- 
blocks were necessary to produce this paper of about 
1814 by Jean Julian Deltil. Entitled Les Fran- 
gAIS EN Egypte, the inscription on the base 
of the broken column at the left reads: "Le 20 
Mars 10,000 Francais Coinmandes par le Brave 
Kleber ont vaincu 80,000 Turcs dans les plaines 
d^Heliopolis." This section, made into a four-panel 
screen, is the gift of F. Burrall Hoffman, h.b. 


jx 25/5 in. [1962—26—1] 

Along with a diverse collection of designs for 
jewelry, the Museum possesses interesting ex- 
Eunples of original pieces, one of which is the brooch 
shown here in actual size. The piece dates from the 
second half of the 1 8th century and is thought to 
be either English or French. Of superb crafts- 
manship in design and execution, it is composed 
of rose-cut diamonds set in silver and gold, ar- 
ranged to form a basket filled with floral sprays. 
Whether or not its original use was as a brooch, or 
as the center part of a tiara, remains a cjuestion. 
This piece was given by Miss Gertrude Sampson. 

C. C. M. 


This tiny bird, covered with brilliant humming- 
bird feathers, is housed in a tortoise-shell box with 
a silver-gilt lid. ^\hen the lid snaps open, the 
bird rises through a chased grate, flaps its wings, 
moves its beak, twitters a brief enraptured song, 
and disappears again beneath the closing cover. 
The fascination for movement in art goes back 
inuch further than the late 19th century inven- 
tions of the Luniiere brothers. During the Ren- 
aissance, the popularity of automatons for the 
amusement of kings and princes was rivalled only 
by the live entertainment in mascjues and corteges. 
Elaborate mechanisms were devised to lift, pull, 
turn, play a tune, or perforin some other mechan- 
ical miracle of playful invention. With their fine 
sense for minute mechanical detail, the Swiss 
supplied many automatons with their inner works, 
although the outer casings may have been made 
in other countries. This artful piece of 18th- 
century mechanical entertainment was given by 
Mrs. John D. Rockefeller, .Jr. h.b. 

Height {closed), il4in. [1958-42-1] 


The adornment of doors is an old art, at times 
brought to perilous perfection, as when the forger 
of the ornamental hinges on the doors of Notre- 
Dame-de-Paris was accused of having resorted to 
the help of the Devil in mahing the finely wTought 
scrollwork. In a more enlightened age, the master 
forger -who shaped this door knocker for a patrician 
house in Bordeaux probably escaped similar 
charges. The heavy Baroque handle contrasts 
pleasingly with the openwork plate, into which 
it is set and which suggests its date as the second 
half of the i8th century. A gift of John Kenneth 
Krug, this door knocker forms an interesting addi- 
tion to the Museum's varied collection of orna- 
mental ironwork. H.B. 

Height, i2'/4in. [1957—161—1] 


Exchange of goods with other countries and conti- 
nents has constantly contributed to the enrichment 
of Western Man's surroundings. As contacts with 
the Orient expanded in the 17th and 18th cen- 
turies, Europe learned to profit from the artistic 
traditions of the East as well as from its manual 
skills. Chinese painters produced wallpaper for the 
Western trade, porcelain decorators painted ar- 
morial bearings of aristocrats unkno-\vn to them 
on thousands of plates and dishes, and furniture 
makers followed drawings sent them through the 
East India Company. This early 1 gth-century 
bamboo chair, a gift of Mrs. William Pedlar, was 
made in China for the English market, in a style 
which found its apogee in the Royal Pavilion at 
Brighton. It is a good example of how cross- 
currents of taste and skills may lead the imagina- 
tion on delightful trips to far-off lands, h.b. 

Height, ^^Vi in. [1962-75-1] 


.I>.-^- ^^- 


814X11"''- [1961-89-1] 

A-Climbing We Will Go is the title of this charm- 
ing drawing by the German-born artist, Baron 
Ernst von Maydell (1888-1961). It is a rather free 
interpretation of the well-known fable of La 
Fontaine, The Grasshopper and the Ant. Von 
Ma5'deirs art is characterized by an extreme 

delicacy both of line and of color, his fa\-ored 
medium being a fine-pointed pen and ink -with 
watercolors. This illustration, apparently never 
published in book form, one of two by this artist 
in the Museum's collection, was given by Alan L. 
Wolfe. R.P.w. 


In the silver and pliqiie-a-jour candlestick by 
West-Coast craftsman Ruth Penington, brilliantly 
colored drops of translucent enamel are contained 
in the silver circlets vrithin the inovable roundels. 
A technicjue which was cheapened by misuse in 
badlv designed igth-century pieces, pUque-a-jour 
enameling was revived recently bv contemporary 
craftsmen who combine manual skill with creative 
design. The miniature stained glass effect of the 
difficult technicjue is used in this candlestick to 
particular advantage. H.B. 

Height, 814 in. [1959-176-1] 


^^. ' ■■'■ ^ 

»?'. 1 9) 

Height, iSi/gin. [1960-1-16] 

It is not unusual to collect objects representing a 
certain svibject in art, but such collecting can be- 
come monotonous if the theme does not offer the 
possibility of sufficient variation. In interesting 
himself in collecting art works representing the 
Four Continents, the late James Ilazen Plvde chose 
a subject of almost limitless possibilities. As an 
allegory in the manner of the Four Seasons, or the 
Four Temperaments, or as the apotheosis of Church 
or King, the Four Continents were subjects favored 
from the late Renaissance throvigh the Baroque 
and Rococo periods. When Avistralia, or Oceania 
as it was also called, was recognized as a continental 
entity, the decorative schemes in Avhich the Four 
Continents were used became rarer. But the old 
concept of world-wide homage to the powerful 
and mighty was revived in this terrestrial globe 
clock with its pedestal surroimded b}^ five allegori- 
cal figures. The twent)'-four hours of the day are 
inscribed on the equator, and the meridian of 
Stockliolm, marked with an arrow, turns with the 
globe and marks the time. Made by the Court 
silversmith, Baron Erik Fleming, it was a gift of 
the Swedish Match Companj^ to its head, Ivar 
Kreuger, on his fiftieth birthdav in i9",o. h.b. 

42 [1962-35-10] 

Teacher and theoretician, Pietro BeUuschi is 
known above all as a church architect. The design 
problem here presented was to provide an appro- 
priate edifice forthe First Lutheran Church, located 
on a busy intersection in Boston's residential Back 
Bay quarter. In this first, imaginary design of 
1958, the architect lets the side courts provide a 
subtle transition from outdoors to indoors. As 
built, the church has proved to be excellently 
adapted both for music and for speech. Like many 
conceptual sketches by today's architects, this 
drawling, one of a group given the Museum by 
Mr. BeUuschi, is carried out with a felt marking- 
pen on tracing paper. R.P.vv. 


Diameter, lyi/iin. [1960—112—1] 

The appeal of clay is so basic and primitive, and 
its possibilities of decorative expressioir so varied, 
that artists accustomed to other media often suc- 
cumb to its temptations. Pablo Picasso, fascinated 
by the work of the village potters in Vallauris, on 
the French Riviera, tried his hand also at pottery- 
making, and enjoyed the shaping of the wet clay 
as much as the decorating of the finished piece. 

With the center of the large platter as the focus 
for the design, his Gros POISSON noir apj)ears in 
a forceful and at the saine time humorous exag- 
geration of its clumsy proportions. The platter, a 
gift of Mr. and Mrs. Daniel Saidenberg, carries 
on the back a series of painted and graijito faces, 
with the signature of the artist, and the date, 
April 16, 1957. H.B. 


12% X la^y 


Readers of The New Yorker over the years are all 
familiar with the cartoons and "spots" by the late 
Christina Malnian. Few magazine illustrators have 
possessed as keen a sense of design, originality in 
humor and subject matter, and inventiveness in 
technique. This Illustration for Fiction Parade, 
though dating about 1938, is actually timeless in 
its hvimor. The medium is pencil, brush, and India 
ink, with the highlights brought out by means of 
dry brush and white poster paint. This example 
belongs to a group of more than a hundred draw- 
ings in the Museum's collection by Adiss Malman 
for illustrations and magazine covers, given by 
Dexter Masters, r.p.w. 


«^ r 


sx^. v^^i:^ 


' ''^^^ 

) V^r \^( c,;d t^ 

I f\ 

{ fiCv' 

> ' 'I C s 

From what familiar forms a pattern of such satis- 
fying quahty may be derived is shown in the panel 
designed and woven about 1948 by Dora Jung, 
of Finland. Here, the casual, ambling line of 
pigeons — commonest of citj^ birds — is rendered 
in gre3's, white and occasional touches of red and 
gold color in a linen damask. The rhythmic aiid 
deceptively simple design results in a highly at- 
tractive wall hanging, a.b.b. 

81x20 in. [1959-143- 


Printed by Clarke ds ff''ay-. Inc., New York